Cyrillus Kreek ja Eesti muusikaelu: väitekiri muusikaajaloos
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Abschlussarbeit Buch |
| Sprache: | Estonian |
| Veröffentlicht: |
Tallinn
Eesti Muusikaakadeemia
2010
|
| Schriftenreihe: | Eesti Muusikaakadeemia väitekirjad
5 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | GT auch als Eesti Muusika- ja Teatriakadeemia väitekirjad genannt. - Zsfassung in engl. Sprache u.d.T: Cyrillus Kreek and musical life in Estonia |
| Beschreibung: | 276 S. Ill., Notenbeisp |
| ISBN: | 9789985979792 |
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| 490 | 1 | |a Eesti Muusikaakadeemia väitekirjad |v 5 | |
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Datensatz im Suchindex
| _version_ | 1814344203657805824 |
|---|---|
| adam_text |
Sisukord
Abstrakt.6
Lühendid.7
Eessõna
.9
1. Sissejuhatus .13
1.1. Töö probleemist ja meetodist.13
1.1.1.
Biograafía
ja muusikabiograafia.14
1.1.2. Biograafiakirjutus tänapäeval.18
1.1.2.1. Subjekt ja
tema kujutamine
.20
1.1.2.2. Teksti konstrueerimine. Käesoleva töö struktuur.25
1.1.3. Paigafilosoofia ja seile rakendamine biograafias.29
1.2. Uurimisseis.33
1.3. Tööallikad .39
2. Cyrillus Kreegi kujunemislugu ja muusikalised
mõjutajad
.42
2.1. Kreegi
lapsepolvest,
isast ja
varastest
muusikakogemustest.43
2.2. 1908-1921: Kreegi rännuaastad.55
2.2.1.
Muusikaõpingutest
Peterburi
Konservatooriumis
.55
2.2.2. Rahvamuusika kogumisest ja
Oskar Kalda tähendusest Kreegi kujunemisel.60
3. Cyrillus
Kreek
Haapsalu ja Läänemaa muusikaelu juhina
1920.-1930. aastatel.66
3.1. Haapsalu Eesti Vabariigi aastail.67
3.1.1. Kuurort Haapsalu.67
3.1.2. Haapsalu ja seile ümbrus Kreegi elu- ja tööpaigana.71
3.1.2.1. Kreegi
perekond
.75
3.1.2.2. Kaaslinlastest
sobrad
ja kolleegid.79
3.1.3. Haapsalu loovisiksuste linnana:
Ernst Enno ja Cyrillus
Kreek
.82
3.2. Cyrillus
Kreek
ja Läänemaa muusikaharidus.86
3.2.1. Haapsalu hariduselu ja koolid.86
3
3.2.2.
Cyrillus Kreek
muusikaõpetajana
.89
3.2.3.
Muusikaõpetus
Läänemaa
Õpetajate Seminaris
.91
3.2.4.
Kreek
LÕS-is: tema
töövaldkonnad ja
pedagoogilised põhimõtted
.94
3.2.4.1.
Kreegi laulmistunnid
.95
3.2.4.2.
Kreek
pilliõpetajana
.99
3.2.4.3.
Kreegi
töö muusikaringis ja
LÕS-i kooride juures
.100
3.3.
Cyrillus
Kreek,
Haapsalu koorid ja laulupeod.103
3.3.1.
Kreek kooridirigendina
.103
3.3.1.1.
Segakoori Heli
kujunemine.
Koori repertuaar ja kontserdid.106
3.3.1.2.
Haapsalu
Meeslaulu Ühingu meeskoor Eesti
meeskooride kontekstis. Koori
tegevus ja tähtsus
Haapsalu muusikaelus
.
Ш
3.3.2. Läänemaa
laulupeod
.116
3. 4.
Cyrillus
Kreek
ja eestirootslaste muusika.120
3.4.1.
Rannarootslased
Läänemaal.120
3.4.2.
Cyrillus Kreegi kokkupuuted
rootslastega ja
eestirootsi rahvamuusikaga
.122
3.4.3.
Cyrillus Kreegi
roll
rannarootslaste hariduselus
ja
kooriliikumises
.125
4.
Cyrillus Kreegi loomingu-
ja vaimuilm.128
4.1.
Helilooja Cyrillus
Kreek
.128
4.1.1.
Komponeeriminekui eluviis
.132
4.1.2.
Inspiratsiooniallikad
ja kompositsioonitehnikad.136
4.1.3.
Cyrillus Kreegi suhted muusikaavalikkusega
.144
4.2.
Cyrillus Kreegi
olulisemad teosed, nende esitused ja vastukaja.149
4.2.1.
Varane
koorimuusika
.149
4.2.2.
„Requiem"
.156
4.2.3.
Orkestriteosed
.163
4.2.4. Rahvapäraste koraalivariantide ja kirikukoraalide töötlused. 167
4.3.
Kreegi
noodi- ja raamatukogu,
muusika kuulamine
.173
5.
Võimu
diktaat helilooja, loomingu
ja muusikaelu
iile.
184
5.1. Ümberkorraldused
Eesti
muusikaelus 1940.
aastate
esimesel poolel
.187
5.1.1.
Tallinna Konservatoorium murranguaastail.
Cyrillus
Kreek konservatooriumi
õppejõuna
.191
5.1.2.
Eesti Nõukogude Heliloojate
Liidu asutamine ja
selle
esimesed tegevusaastad
.194
5.1.3.
Saksa
aja
kontserdielu Tallinnas.
Olav
Rootsi
ja
Cyrillus Kreegi koostöö
.198
5.2.
Sojajärgsed aastad Eesti muusikaelus
.205
5.2.1.
Järel-eesti aeg
.205
5.2.2.
Totaalse
stalinismi periood alates
1948.
aastast
.209
5.2.2.1.1948.-1950.
aastate ideoloogilised otsused ja
nende
mõju
Eesti muusikaelule
.211
5.2.2.2.1950.
aasta Cyrillus Kreegi elus
.217
5.2.2.3.
Cyrillus Kreegi teoste arutelud Heliloojate Liidu
töökoosolekutel
1950.
aastatel
.225
5.3.
Cyrillus Kreegi viimased eluaastad
.234
6.
Kokkuvõte
.239
Summary
-
Cyrillus
Kreek
and Musical Life in Estonia
.245
Illustratsioonide nimekiri
.252
Allikad
ja kirjandus.253
Nimeregister
.269
illuminili
Summary
Cyrilłus
Kreek
and Musical Life in Estonia
Cyrillus
Kreek
(1889-1962)
was a productive composer, music teacher,
conductor and folk music collector, whose life, works and activities have not
been written about
mudi so
far. There are three short biographies that have
been published (the authors are Neeme
Laanepõld
(1974)
and
Tiia Järg
(1989
and
2003))
and some articles about some particular compositions and life periods.
At the same time, Kreek's musical creation has been performed more frequently
and it has been highly appreciated in both Estonia and abroad, especially after
Estonia regained its independence. All this has caused a greater need for a closer
study.
The principal aim of this dissertation is to examine Cyrillus Kreek's life and
associate it with the musical life processes in Estonia.
1
have attempted to show
how the composer's life, creation and activities as a practicing musician were in
a mutual relationship with the social and cultural context of his time.
Cyrillus Kreeks's life overlapped different social and cultural eras that
entailed significant changes in the music field. Still, the aim of this work is not to
describe the general panorama of the Estonian musical life of his time, instead
I have concentrated only on the processes, events, places and institutions that
were directly or indirectly related to Cyrillus Kreek's life. The principal subject
of this dissertation is Cyrillus
Kreek
and his biography, through which different
aspects of musical life have been looked at. In other words, the aspects of musical
life are chosen and examined from a person-centered perspective.
Kreek
earned his recogniation on both international and national level
as an outstanding composer
-
that is, for his musical works, although this
dissertation is not a monograph about his musical works. I have studied his
works in connection with the musical background at the time, described the
historical circumstances in which his works were born, and showed how the
orders from different institutions (e.g. concert organizations, the Composers'
245
Union)
influenced
Kreek'
s
creative activities; I have outlined, if, and how his
works got to the stage of being performed and how they were received by the
audience. I have also discussed the importance of composing in Kreek's daily
life, pointed out the impulses that influenced his works and tried to describe
the development of his way of composing. Considering this approach, the main
purpose is not to analyze his particular works per $c. The aim is to portray the
composer through his composition and point out the processes of the musical
life through his works.
The dissertation consists of six chapters. The first (Introduction) investigates
theoretical and methodological issues that have inspired this research. That
emanates from writings of music biography. This music biography centers on
the documentation and interpretation of events, influences and relationships in
Kreek's life; the musical tradition and the intellectual milieu of his time. Also
aspects from structural history method are used (as addressed by Carl Dahlhaus)
due to their appropriateness to describe the working processes of music
institutions. I have used the structural history approach to observe the small
town choir movement as an individual structure that is simultaneously part of
the whole structure of the choir movement of Estonia, as well as the Estonian
Composers' Union as a part of the Composers' Union of the Soviet Union etc.
1
have also used some aspects of philosophy of place due to the fact that an
important characteristic of
Cyrillus
Kreek
was his unusual commitment to the
place where he was bom and raised
-
Läänemaa
(West County) and Haapsalu, a
small town in the west coast of Estonia. The set of questions that
1
have expanded
upon that are based on philosophy of place is as follows: what is the source of
Kreek's commitment to a particular place? How big is the area that
Kreek
felt to
be „his place"? What was his place like in the sense of nature conditions and the
lifestyle of the local people, what were the characteristics of the cultural life and
traditions? How and with what intent did
Kreek
evolve his place?
The second chapter of this dissertation („The early years of Cyrillus
Kreek
and his musical influences") is dedicated to Kreek's childhood and youth,
to the people who taught him and to the influences he got from the years of
studying in St Petersburg. One of the most important persons in Cyrillus Kreek's
early years was his father
Gustav (Konstantin)
who was a school teacher in
Läänemaa
and on Vormsi island. From his father he inherited a well balanced
nature, thoroughness in everything he embarked upon, musical interests and
the desire to work as a teacher.
Kreek
gained his musical education at the St
Petersburg Conservatoire, as most of the Estonian musicians did at the time.
246
Summan/
At first, his major was the trombone, but from
1912
on he studied composition
and theoretical subjects. From
1911
Kreek,
as a student, went on expeditions to
collect folk music in Estonia. First under the auspices of the Estonian Student
Union, then in collaboration with Estonian National Museum and later on his
own. He also copied down material collected by others and wrote down folk
songs from many of his students. In this manner,
Kreek
formed his personal folk
music „archive" which consisted of about
5500
songs and is now located at the
Museum of Theatre and Music in Tallinn. The most important reason for
Kreek
to collect folk tunes was to draw inspiration from them and musical ideas for his
compositions. Kreek's credo was national-romantic and his belief was reflected
in his compositions through the use of folk songs: the composer wrote in
1911
that when a folk song „has been elaborated, it goes back to the people again."
The most important parts (if this study arc the third, fourth and fifth chapters.
In chapter
3
(„Cyrillus
Kreek
as the leader oi musical life in Uaapsalu and
Läänemaa in
the
1920s
and
1930s"), 1
have given my observations of the years
1921-1940,
when
Kreek
was
ven1
activei)'
involved with advancing the musical
life of Haapsalu and his
co un
t
v. He worked as a music teacher in a local high
school, the Teachers' Seminar and the high school for Estonian Swedes. He
mostly based his work as a music teacher on folk music: in the lessons they sang
folk songs and wrote down folk melodies. He also considered it important that
his students be able to sing and play church chorales and Estonian choir works
on piano. When he taught music history, lie often played fragments of the works
of Western composers, especially Wagner's operas on the piano.
Cyrillus Kreek
was also actively practicing as a choir conductor in
1
laapsalu.
Heconcfuctetl local men's and mixed choruses and brought significant changes
into their repertoire: he was
t
lie first in I laapsalu
lostart
teaching and performing
large musical compositions including <in orchestra, a choir and soloists, e.g.
Cherubi
n's,,
Requiem",
I laydn's,, Pie
Schopt
ung",
excerpts of
1
ländeľs
oratorios
(„Samson", „Messiah" etc). He brought together all
1
laapsalu's choruses and
musicians to perform such works.
1
le
also worked as the artistic director of
many open-air song festivals, he chose the repertoire and conducted choirs of
up to a thousand singers.
Λ
remarkable fact is that he very seldom included his
own composition in the program of the song festivals.
Kreek's versatile musical activities in Haapsalu included Estonian Swedes. In
fact,
Kreek
was (and still is) our only professional composer to have shown deep
interest in the unique music culture of the Swedes living on the Estonian coasts.
Kreek
apparently triggered their musical life and through this also their national
247
Summan/
identity. He became the only music teacher at the only Swedish gymnasium,
he played a central role in choosing the repertoire for the first Swedish song
festival, conducting the joint choir rehearsals and the song festival itself in
1933.
Kreek
was also deeply interested in their folk music, especially the folk hymns:
lie went out to collect folk music twice, he recorded music on phonograph tape
and wrote it down; he copied materials gathered by other collectors, and finally
-
he arranged all these folk hymns for
3-
and 4-voice choirs.
To summarize, we can conclude that Cyrillus
Kreek
worked in Haapsalu for
20
years and became the pioneer and the leader of the local musical life. At the
same time Haapsalu as a quiet and peaceful beach town offered him emotionally
a lot: the composer often took walks in the forest and by the seashore, he observed
nature, especially birds and plants. Kreek's relationship and contacts with „his
place" were diverse and mutually enriching.
Chapter
5
of this dissertation („The dictates of political power over composers,
their works and musical life") is dedicated to Kreek's biography and Estonian
musical life in the
1940s
and
1950s.
This
timeframe
was a very difficult one for
Estonian composers and the whole culture in general: the totalitarian ideology
and the occupation regime of the Nazi Germany and the Soviet Union dictated
the musical life, compositions and the life of the composers. These years were
difficult for Cyrillus
Kreek
as well and entailed some big changes. In
1940
he was
invited to teach theoretical music subjects in Tallinn Conservatoire, he was also
one of the founding members of the Estonian Composers' Union. Paradoxically,
the years of war
(1941-1944)
were very productive and fulfilling for him.
Olav
Roots, the conductor of the Symphony Orchestra of the Estonian Broadcasting
Company at the time, asked
Kreek
to arrange some of his earlier works for a
symphony orchestra.
Kreek
composed
30
pieces and the orchestra performed
almost all of these, and on a high artistic level. These concerts received very
positive reviews.
The first few post-war years were quite uneventful in Estonian music but the
period that started in
1948
could be named an era of total
stalinism.
Moscow,
headed by the Central Committee of the Communist Party, directly dictated what
the musical compositions should be like: music had to be simple, melodic, in
accordance with the musical taste of the common worker. In several documents
of the Central Committee, musicians were accused of „burgeois nationalism"
and conformation to Western culture. These decisions caused many musicians
and composers to be repressed. The most difficult year for Cyrillus
Kreek
was
1950,
when his musical works were condemned by the Composers' Union and
248
_
Summary
he was forced out from the professor's position in Tallinn Conservatoire. After
that he lived a quiet and isolated life in his hometown Haapsalu with very little
communication with the cultural public.
The central, chapter
4
(„Creative and spiritual world of Cyrillus
Kreek")
is
dedicated to portraying Cyrillus
Kreek
as a composer
-
how his creation came
to be and how it was performed and received. At first, I have described the
importance of composing in his daily life, how it was his highest priority that
was characterized by decades long stability, which was not affected by the
different situations and obstacles of extraneous life. Secondly, I have given my
observations ot his most significant musical inspiration sources, composition
techniques, more important genres and works. The most important features
that
1
have brought out are the following:
Kreek
was an extremely productive
composer with the total ot more than two thousand works.
Kreek
can be almost
exclusively regarded as a choral composer; the number of his instrumental
works is small compared with that of his choral works. Most of his works are
based on borrowed musical material, folk music, but sacred music as well. Some
of his greatest and most elaborate choral works are based on folk music, e.g.
„Sirisege, sirbikesed"
(„Л
harvest song") and
„Maga, maga
Matsikene" („Sleep
well, my little Matthias"), but hundreds of small choral pieces as well. Kreek's
dominating composition technique was the counterpoint method in all its
specific forms, especially canon. Folk hymn melodies were of great importance
to him: he used practically all of the folk hymn melodies, both Estonian and
Estonian Swedish, in his compositions. The period of
1931-1937
saw the creation
of his most grandiose project: he composed
443
arrangements tor 3-part
temale
choir on those folk hymn melodies. In addition to I'olk music, his works also
originated
írom
chorales, the most important part of which were
500
chorale
canons on
du·
basis ol the material in
ľunscheľs
chorale book (written from
1949
to
1955).
Kreek
was the author of the
t'irsi
Requiem of Estonian music, the
first recital of his
„Requiem"
with text in
listonian
language took place in
1929.
Kreek's works were not performed a lot during his lifetime. Some of his choral
songs were in the repertoire of the Estonian Song Festivals, but most of his music
was unknown to the public. There are several reasons for this situation. Many
of his works are technically so complicated that only very skilled professional
choruses are able to sing them. Also,
Kreek
was a very humble person, he did
not promote his music to the choir conductors, nor did he include them in the
repertoire of his own choruses. Many of his works, especially the works with
religious implications, were ill-suited to the ideological context of his time. All
249
Summary
this caused him to be relatively unknown during his lifetime. His music started
to be performed a lot more about
100
years after his birth.
In chapter
4,
1 have also discussed Cyrillus
Kreek
as an educated intellectual.
During the years he had compiled an enormous library consisting of thousands
of books and scores. He played most of the works on the piano with his friends.
He listened to a lot of music from the radio. He wrote notes into many scores and
analyzed several musical works.
Kreek
held notebooks and chronicles about his
spiritual and intellectual activities for decades: he wrote punctual data regarding
the creation of his works (time and place of the composition, the musical material
he used), he also collected and wrote down information on most miscellaneous
things: music pieces he had heard, folk music and traditions, ornithological
observations and so on. During many decades
Kreek
wrote thousands of score
pages, copying and arranging other composers' works that interested him. With
all these intellectual activities and chronicles, the most intriguing feature is that
at no point in time did he give any emotional judgement with any word, nor
did he express his attitude (likes or dislikes for something). The decades long
spiritual evolution did not serve any practical use or purpose.
The continuous composing and spiritual self-improvement was simply
Cyrillus
Kreek"
s
way of life that was not changed or hampered by the volatile
affairs of culture or politics and not even his „own place"
-
the habitat in a small
province town.
250 |
| any_adam_object | 1 |
| author | Kõlar, Anu |
| author_facet | Kõlar, Anu |
| author_role | aut |
| author_sort | Kõlar, Anu |
| author_variant | a k ak |
| building | Verbundindex |
| bvnumber | BV039882486 |
| ctrlnum | (OCoLC)780115623 (DE-599)GBV638377390 |
| format | Thesis Book |
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| genre | (DE-588)4113937-9 Hochschulschrift gnd-content |
| genre_facet | Hochschulschrift |
| geographic | Estland (DE-588)4015587-0 gnd |
| geographic_facet | Estland |
| id | DE-604.BV039882486 |
| illustrated | Illustrated |
| indexdate | 2024-10-30T13:04:27Z |
| institution | BVB |
| isbn | 9789985979792 |
| language | Estonian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-024741679 |
| oclc_num | 780115623 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 276 S. Ill., Notenbeisp |
| publishDate | 2010 |
| publishDateSearch | 2010 |
| publishDateSort | 2010 |
| publisher | Eesti Muusikaakadeemia |
| record_format | marc |
| series | Eesti Muusikaakadeemia väitekirjad |
| series2 | Eesti Muusikaakadeemia väitekirjad |
| spelling | Kõlar, Anu Verfasser aut Cyrillus Kreek ja Eesti muusikaelu väitekiri muusikaajaloos Anu Kõlar Tallinn Eesti Muusikaakadeemia 2010 276 S. Ill., Notenbeisp txt rdacontent n rdamedia nc rdacarrier Eesti Muusikaakadeemia väitekirjad 5 GT auch als Eesti Muusika- ja Teatriakadeemia väitekirjad genannt. - Zsfassung in engl. Sprache u.d.T: Cyrillus Kreek and musical life in Estonia Zugl.: Tallinn, Akad., Diss., 2010 Kreek, Cyrillus 1889-1962 (DE-588)119314797 gnd rswk-swf Musikleben (DE-588)4075128-4 gnd rswk-swf Estland (DE-588)4015587-0 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Kreek, Cyrillus 1889-1962 (DE-588)119314797 p Estland (DE-588)4015587-0 g Musikleben (DE-588)4075128-4 s DE-604 Eesti Muusikaakadeemia väitekirjad 5 (DE-604)BV039882470 5 Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024741679&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024741679&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Kõlar, Anu Cyrillus Kreek ja Eesti muusikaelu väitekiri muusikaajaloos Eesti Muusikaakadeemia väitekirjad Kreek, Cyrillus 1889-1962 (DE-588)119314797 gnd Musikleben (DE-588)4075128-4 gnd |
| subject_GND | (DE-588)119314797 (DE-588)4075128-4 (DE-588)4015587-0 (DE-588)4113937-9 |
| title | Cyrillus Kreek ja Eesti muusikaelu väitekiri muusikaajaloos |
| title_auth | Cyrillus Kreek ja Eesti muusikaelu väitekiri muusikaajaloos |
| title_exact_search | Cyrillus Kreek ja Eesti muusikaelu väitekiri muusikaajaloos |
| title_full | Cyrillus Kreek ja Eesti muusikaelu väitekiri muusikaajaloos Anu Kõlar |
| title_fullStr | Cyrillus Kreek ja Eesti muusikaelu väitekiri muusikaajaloos Anu Kõlar |
| title_full_unstemmed | Cyrillus Kreek ja Eesti muusikaelu väitekiri muusikaajaloos Anu Kõlar |
| title_short | Cyrillus Kreek ja Eesti muusikaelu |
| title_sort | cyrillus kreek ja eesti muusikaelu vaitekiri muusikaajaloos |
| title_sub | väitekiri muusikaajaloos |
| topic | Kreek, Cyrillus 1889-1962 (DE-588)119314797 gnd Musikleben (DE-588)4075128-4 gnd |
| topic_facet | Kreek, Cyrillus 1889-1962 Musikleben Estland Hochschulschrift |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024741679&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024741679&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV039882470 |
| work_keys_str_mv | AT kolaranu cyrilluskreekjaeestimuusikaeluvaitekirimuusikaajaloos |